Acta Universitatis Wratislaviensis No 3195 Neerlandica Wratislaviensia XVIII Wrocław 2009 Piotr OCZKO (Kraków) The Last, Unknown Portrait of Joost van den Vondel? Abstract In this article an interesting object of art is described in its literary context: a portrait from the Jagiel- lonian University Museum in Cracow which in the 19th century belonged to the aristocratic Polish Pusłowski family and was classifi ed as a work of ‘an anonymous Flemish painter under Italian infl u- ence’ with the title A Scholar in his study. In the late 90s of the former century a very basic renova- tion was made. In fact this painting can possibly be a portrait of Joost van den Vondel by Philips Koninck – the last one perhaps. An anthropometric analysis of this portrait with other portraits of Vondel shows a very high probability of this hypothesis. It was a complete surprise to me that while leafi ng through a book on the Jagiel- lonian University Museum in Krakow, Poland,1 I came across a painting of Phil- lips Koninck and read that it was probably presenting ‘Joost van del (!) Vondel, a Dutch humanist and poet.’ The surprise was even greater, as I have personally devoted years of study and research to this very author. I have translated his Luci- fer and some minor poems into Polish and I wrote my Ph.D. thesis on his oeuvre. At the same time, I was completely unaware of the fact that this painting, which was supposed to be Vondel’s portrait, was hanging on a wall just a few meters from my faculty. The fi rst impression was, however, that the fi gure in the painting did not re- semble Vondel at all, at least it did not look like the representations of him that I am familiar with from the works of Sandrart, Lievens, Koninck, Visscher or Flinck. The person in the painting appeared to me more like an old woman, rather than the most famous Dutch playwright of the Golden Age. The history of the painting itself is quite mysterious. It used to belong to the art collection of the Polish aristocratic family Pusłowski, who purchased it most likely before 1890 from an unknown source. Its master was not recognised and the picture was classifi ed as a work of ‘the anonymous Flemish painter un- 1 J. Podlecki, S. Waltoś, Collegium Maius of the Jagiellonian University, Kraków 1999. Neerlandica Wratislaviensia 18/2009 © for this edition by CNS NNeerlandicaXVIII_proof.indbeerlandicaXVIII_proof.indb 9977 22010-02-10010-02-10 112:42:272:42:27 98 PIOTR OCZKO der the Italian infl uence’. In 1968, after the childless death of Franciszek Ksa- wery Pusłowski, the painting was given to the Jagiellonian University Museum in Collegium Maius and was exhibited under the title of A Scholar in his Study. In 1996 it underwent a complete renovation2 – the layer of the old dirty varnish was removed and on the base of the sandglass a signature revealed itself: ‘PH. de Koning. f’. The earlier history of the picture is unknown as it sank into oblivion for centuries. It has never appeared on auction lists and no tracks of its purchases or sales have ever been recorded. Moreover, it is not mentioned at all in the only monograph and catalogue on Koninck’s art compiled by Horst Gerson.3 Attribution of a painting to such a famous artist, a friend of Rembrandt, ini- tiated its detailed stylistic analysis and research which was carried out by Anna Jasińska, the custodian of the museum. Her interesting fi ndings4 are worth a brief outline. A Scholar in his Study is an oil painting on oak board (71.5 cm × 53.5 cm). It may be seen either as a portrait of a specifi c individual with strongly accen- tuated vanitative motifs (still life), or as an allegorical representation of Vanitas. Ms. Jasińska wrote: The painting consists clearly of two parts. On one hand, it is a portrait of a man, on the other, it represents a still life. These two layers are linked together with a maxim Sic transit Gloria Mundi written under the niche with the fl owers. From the iconographic point of view the painting recurs to the representations of St. Jerome. As such it demonstrates an interesting contribution to the vanitative painting which was remarkably developed in 17th century Holland.5 The vanitative motifs presented in the painting include: – a human skull, not only a reminder of the inevitability of death, but also of rising from the dead; – a burnt-out olive lamp symbolising death and despair; – a sandglass in which all the sand has cascaded out – meaning that time has come to an end; – a bouquet of fl owers, typical for the vanitative, still lifes, conveying the following symbolic ideas: tulips (passing of time, sumptuousness), lily (immor- tality), rose (love and suffering), narcissus (egoism and indifference); – a money pouch (the illusion of wealth in earthly life); 2 Cf. D. Budziłło-Skowron, Kompleksowa analiza obrazu holenderskiego z XVII wie- ku „Uczony w pracowni” Philipsa Konincka (1619–1688) [in:] Opuscula Musealia 9, 1998, pp. 77–81 (with an English summary). 3 H. Gerson, Philips Koninck. Ein Beitrag zur Erforschung der holländischen Malerei des XVII. Jahrhunderts, Berlin 1936, reprinted in 1980. 4 A. Jasińska, Nieznany obraz Philipsa Konincka w zbiorach Muzeum UJ. Przyczynek do dziejów malarstwa wanitatywnego [in:] Opuscula Musealia 9, 1998, pp. 57–76 (with an English summary). 5 Ibidem, p. 76. Neerlandica Wratislaviensia 18/2009 © for this edition by CNS NNeerlandicaXVIII_proof.indbeerlandicaXVIII_proof.indb 9988 22010-02-10010-02-10 112:42:272:42:27 THE LAST, UNKNOWN PORTRAIT OF JOOST VAN DEN VONDEL? 99 – a bunch of keys (the access to knowledge and mysteries, power and wis- dom); – an old, worn out book (a symbol of learning, but also a warning to all those who become too proud of their wisdom); – a glass for reading (most probably symbolising in this context the same idea as the book). The repertoire of vanitative symbols applied is quite conventional and may be found in the works of many still life painters in the Dutch Golden Age: Claesz, Bosschaert, Dou. They were very often used in other paintings and drawings by Philips Koninck as well (for example, The Old Man with the Sandglass, A Philos- opher at his Study). In the background we can see a vaguely painted landscape presenting the world at dawn, promising a new day and hope, the victory over the darkness and evil. The fi gure of the ‘scholar’ is shown in his right profi le, one hand supports his head, the other one is laid on the skull. He is dressed in a night gown with a fur trimming on the collar and the cuffs. He is wearing a white night (?) cap with a lace hem and fancifully tied tapes. Such choice of clothing results in a cosy, infor- mal presentation of the model. The portrayed man seems to be a person submerged deep in his thoughts, peacefully resigned, patiently waiting for the ultimate things. He also shows a striking resemblance to the numerous artistic representations of St. Jerome (Koninck himself was the author of such a drawing). Further, such por- traits, being the conveyer of a moral sensus allegoricus, were especially popular in the circles of the humanists and scholars in 17th century Leiden. The authenticity of the painting can leave no doubt. Its theme fi ts the scope of interests of Koninck. Signifi cant details (type of face, handling of the painted model), the use of pigments and the manner of applying them, the colour scale applied, the visible infl uence of Rembrandt, and the type of the signature, as well as the dendrochronological investigation allow clearly for the association of this painting with other works of the artist.6 Anna Jasińska, inspired by Gerson’s study, dated the painting back to circa 1645 and classifi ed it as one of the early works of Philips Koninck. According to Gerson, only the early works of Koninck were painted on board; he was also con- vinced that such colour scale and the evident infl uence of Rembrandt were typical for the early period of the artist’s output. Taking into consideration the fact that Koninck and Vondel were close friends (the painter made, according to various sources,7 from 14 to 22 paint- ings and drawings of Vondel) and having compared the picture A Scholar in his 6 Ibidem. 7 H. Gerson, op. cit., passim, J.F.M. Sterck, De portretten van Vondel [in:] De werken van Vondel, 10 dln, deel IV, Amsterdam 1930, pp. 39–50. Neerlandica Wratislaviensia 18/2009 © for this edition by CNS NNeerlandicaXVIII_proof.indbeerlandicaXVIII_proof.indb 9999 22010-02-10010-02-10 112:42:272:42:27 100 PIOTR OCZKO Study with the other portrait of Vondel by Koninck (1665) and his drawing from 1678, A. Jasińska put forward a hypothesis that the man portrayed in the picture currently under discussion may indeed be the Dutch playwright. This speculation, much more interesting for the neerlandicus extra muros than for the art historian, warranted further research. A. Jasińska was, however, not aware of two other works by Koninck which seem to be important for the interpretation of the painting, namely the portrait of Vondel from 1674 and one of the drawings from 1678 presenting the old poet in profi le, sitting in an armchair. She also followed Gerson’s assumption that only the early works of Koninck were painted on board, whereas his portrait of Vondel from 1662 was made on the same material. The model himself in the poem Op mijne afbeeldinge, geschilderd door Filips Koning wrote: Ik telde vijf en zeventig, Toen Koning mij, dus levendig, Te voorschijn bracht op zijn panneel.8 This very fact that the portrait was painted on wood, allowed for dating the painting back to circa 1645.